New Year’s didn’t go so well for me. A few hours before the chiming of the new year I succumbed to a 101.9 degree fever and came to the quick realization I was down for several days ahead with the flu that I’d watched warily as my fellow co-workers and friends drop like flies around me.
But one thing all that bed-ridden time gave me was enormous time to contemplate what I had been doing up to this point. Sure, I’d been writing quite a bit. My current published works number in the 746K words range between four published works (approximately 1,913 printed pages of text), with another 718K words (or 1,836 printed pages) wrapping itself up for publication this year.
I’m sort of the James Mitchner of Gay Lit Fic … well, as far as massively sized books go.
They’re the stories I feel I need to tell. So, I write what I want to write, almost to the point of it being irrespective on how they’ll be publicly perceived. I am very much a different writer in that sort of way. I don’t require the adulation. I spent a number of years in professional theater and had my fill of what “people think” about your art. I’m no longer concerned with that – just the creation process of an evolving story. Sort of in the same vein as one of my artistic heroes: Alfred Hitchcock. For Hitch, the creative process of coming up with the plot – and more importantly sequences of events he new would stimulate the crowds visually, he was in his element. The actual casting, directing and filming bored him to tears. I get that. I truly do. If people like what I do, the stories I tell, great. I’m happy with that.
But it’s not why I write.
I am also not one of those bloggers who feel the incessant need for people to read their shit daily so they feel the need to blab about shit that 99.9% of the time they have no business blabbing about, but since no one else is doing it – if they’re lucky – then they have the table for about five precious minutes and a little fame (or sometimes infamy) can come out of it. I mean, I wish Tyler Oakley all the success he can handle, but really, what does a cis-gendered, queer white gay boy have to truly say when a great majority of his audience are straight white teeny-bopper (yeah, I know that just dated the fuck outta me) girls. From what I can tell, he doesn’t have a massive gay male following. So he’s capitalizing on queer life to the straight young female crowd. The very same crowd who often make it into our queer spaces once they reach adulthood and feel through their long audience following have some special status in our queer spaces.
Put bluntly, they don’t.
Millennial queers like to say that when queer men resent women moving into our spaces that it’s a form of misogyny – no, we’ll let lesbians and our trans brothers and sisters and any bisexuals into our queer spaces just fine, thank you very much. I have many lesbian friends that I adore the crap out of. I am not a misogynist. I just want queer spaces to be our own. But a straight woman needs to fucking understand that our spaces (and yes, our goddamned fiction and queer literature) are sacred to us. We have precious little as it is. And here’s the rub: Those night clubs and bars everyone has been ditching all of a sudden are probably going to be needed in a big way. Why? Well, a little thing called The Trump Administration.
Here’s a brief history lesson from someone who lived through our toughest and darkest times, lost so many friends that it is hard to recall them all, and survived to do our best to never forget the fight we had to get to where we are now. So those queer youth who think a social app or a hook up app will satisfy a real life gathering watering hole environment are about to learn a valuable history lesson. We’re going to need those spaces again. I’m just sayin’…
Okay, queer youth, prove me wrong. We’ll see how history will write this next chapter once Trump and crew have their way. They just tried to gut the independent ethics committee from any external oversight. They walked it back once word got out, but make no mistake, it remains one of their goals. They’ll just do it quietly … as slow methodical dismantling. Why? So there is no way to see behind the curtain of their next dastardly deed. These are truly horrific people in power now. Even George Takei sees it coming. If George can see it, that’s good enough for me. He lived through it already. He knows the warning signs. The same signs I’d been noticing since the 1980’s – yeah, kids, it’s been that long in coming. Anyone try to tell you different is a fucking fool and I am probably safe in saying they weren’t alive and of an age to understand what was going on way back then. But the GOP plan started when they successfully ousted Carter from office. That was the turning point.
My husband, who is sixteen years my senior, argues it was even started earlier when his own father (who was a superintendent of schools in Ohio) said that the GOP had started to make inroads in dismantling public education. This was in the 1950’s. I wasn’t around then, so I have to take his word for it. And I do.
And this brings me to the crux of this post. You see, I only post when I truly have something to say. I’m not one of those writers or bloggers who just have to post about those fab new sandals they just bought or some brilliantly amazing food they ate. Or even about craft. I sort of laugh when authors try to give advice about what’s correct or not.
Darlin’ everyone’s journey to get there is just that – their own. Your yellow brick road to mid-level fame and dwindling fortune may turn out to be just a piss stained sidewalk – not a yellow brick road at all. I mean, sure, share your perspective if you think something is interesting. I’m not saying you can’t (I’d never tell a writer not to write – ever). But just keep it tucked into the back of your mind that what you went through may not, in any way, come close to another writer’s journey or perspective on writing. Short cuts, learned lessons, yeah they’re helpful to a point. But really, how many wheels do you think your reinventing? I mean, honestly. Hasn’t it just become babble? That whole “pressure of speech” but with writing.
Which is what I’d been contemplating all along. And I realized what came back to me with the incoming administration was: I don’t want social media to link my shit together. I don’t want people at LinkedIn to know what I am posting in Facebook. It only provides an easy path to collect all my data. Not in a Trump age. It’s not a perfect plan and I am still working on it.
Also, as a writer it was always incumbent for us to be public figures, right? Yeah, for me, not so much. I mean from the time I grew up I didn’t have social media and I got along with people just fine. I didn’t need it. It’s a nice convenience to know what some of my beloved friends from my school days or from other venues are up to … but do I need to know EVERY facet of what’s going on? It’s a bit much. I think most peeps probably think the same of others. We spend far too much time yapping and posting to one another when we should be actively writing and using our quills to do some damage to the oppressors coming our way.
Another point I needed to consider – I recently had an email exchange with a young man living in queer hell in Indonesia. He told me the story of finding my Angels of Mercy series and how reading it gave him something to hold onto. That man, and my queer brothers and sisters like him, are the very people I write for. I don’t require adulation or praise from people whose lives are not effected by what it’s like to actually live the queer life. Allies are great, but they often forget that salient difference – you are NOT one of us. We may share a thread of humanity between us, but you will never know our pain. You may empathize until hell freezes over but it does not give you a special voice within our community. You do not know what it is like to live in our world – even if you write about us. You still have no idea what it means to live the life. This young man in that oppressed country, where their burgeoning queer activism was on the rise until their prominent leader (and their growing rights) was literally hacked by machete wielding Islamic thugs in a very public manner that completely killed any hope of freedom they had from that horrible assassination. That man, that precious soul trying to find some hope in all of his oppressed world, and his emails to me, changed everything. I know what I am meant to do.
My New Year’s resolution: (it’s two-fold) I’ve scaled my social media presence way back. Twitter, LinkedIn and other accounts can’t troll or post for me. I don’t want the connection. I want to know when something hits a certain service. I’ve also let my author page be my public presence. My personal timeline is now just that – personal, for friends and family only. I’m good with that. I’ve even disabled public presence in other social media apps or completely killed them outright and removed them. The second part of my New Year’s resolution is that I plan on writing more in both my blogs. But only when I have something to say. It’ll probably be limited to queer rights activism for my author blog, and my own queer childhood through adulthood on VioletQuillRedux. Maybe one or two postings over at WrotePodcast, too.
This is also a call to my queer brothers and sisters to take up their quills and prove the pen is far mightier than any sword pointed in our direction.
I think my efforts would be better spent using that certain John Quincy Adams passion within me to be a true pot stirrer. 1776 is one of my all-time favorite musicals. Not because of the music or the production, but because as a young lad, John Adam’s character made absolute sense to me. I got him. I got his passion and his unwavering voice in the face of adversity. Now, that I can and will be vocal about.
I’ll continue to write fiction, but I’m not going to go all out with marketing. As I said, the creation is the fun part for me. Whatever happens after, happens. It’ll get little prompting from me. Not when I have bigger battles to wage.
I may be old now, well beyond years where I would be accepted in my own queer spaces (ageism is something we are still dealing with in the community) but I still have some fight left in me. That same boy who at twelve years of age took on his local school board and challenged their decision to change my district school to a traditional school from a year-round program I’d grown up with. Yeah, I’m still very much that same twelve year old activist. It served me then (my side won), it’ll serve me now (crossed fingers).
Some might say why post about this at all if you don’t want people to “like” what you do. I’ll simply smirk and think to myself, because these postings aren’t about liking anything. They’re just my queer POV as a man who lived through one of the most hellish times in our community’s history only to find himself near the end of his days and realizing that that battle was merely the rehearsal of what is to come. We have rights now. But there is no guarantee we’ll get to keep them. Any administration that wants to remove oversight has clearly put the writing on the wall. The backlash is coming, Winter is Coming. That’s what I choose to write about.
I’ll just will have to do all the individual postings in each of my social media points of presence – or not at all. But it’ll be my choice.
I’ve never been about the sales. But I’ve always have been about the activism. With the incoming administration, that’s where my passions lie.
It’s time to pick up that John Adams hat, give it a good dusting, and get back to work.
Until next time …
Something has changed. A fundamental shift in what I am doing. You see, I’ve been writing my own life story as a series over at the Violet Quill Redux and that has made me question how I see my own works. Not just the fiction works, either, but all of it.
I’ve had moderate success in the whole Gay Fiction part to my work. Assigning that moniker to what I do seemed to be the right thing at the time I released my first work.
It was a pseudo-horror thing I was playing around with. I had been hammering out Angels of Mercy at that point, but HO’M,O – Henry O’Malley, Omega was completed and I desired to have something out there that had my name on it. Hell, on the eve of releasing HOMO, I discovered that some other twit “writer” (and I term that very loosely after reviewing their work) ended up snagging my pen name (even though I had the domain, the blog, the wherewithal to publish free chapter reads before I published on January 1 of last year) right out from under me. Originally, I was going to use S.A. Collins and up until I published on New Year’s day 2015, that name was available. Then this idiot swooped in and published a free (it had to be, because the work was atrocious) work using that S.A. name reference. I was beyond pissed. At this point I had a ton of money invested in what my author/pen name was going to be. I didn’t want to change it. So, gritting my teeth, I removed the periods from each initial and pressed forward. Now, I don’t know if my putting gay fiction out there under that name scared the squatter off, but they haven’t released anything else under that author name. But I’ve still had to go back to numerous distributors and tell them I am NOT S.A. Collins but SA Collins. It’s been a chore.
So labeling my shit as Gay Lit Fic has helped me in one respect: I’ve been able to make a fairly good imprint that I am out there as SA Collins – through the WROTE Podcast, my works, and just generally hammering away in social media as him. I say him, because he is a fictitious character in one of my future works. So in that sense, I get to put him on, and put him away when I write. I sort of like that about him. I hope he doesn’t think it an abusive relationship, because I do love him and his journey.
Okay, that is getting too headspacey, even for me.
The point I am trying to make is that I started out proudly labeling my works as GAY, GAY, GAY. In that way, I am completely unabashedly #QueerProud and make no bones about what I am writing. I want it to be provocative, to press at the edges. I LIKE BEING QUEER.
But, something occurred to me: all of my literary heroes never labeled their works as such. Not John Rechy or Gordon Merrick (my literary gods), nor did Felice Picano, Andrew Holleran, Paul Monette, or Armistead Maupin for that matter. They just wrote literary fiction, PERIOD. End of story, no debate. In doing so, they demanded that their works be taken seriously within the greater mainstream. They, too, were unapologetic in what they wrote, BUT, and here is the critical difference, they (and, to a certain extent, their publishers) were no less of a homosexual or queer writer than any of us now. Yet, they were successful at it – in the mainstream. And by mainstream I am talking best sellers on the list that mattered: the NYT best seller list.
Even now, I am seeing other works by new authors that are completely bypassing the Gay label on Amazon and simply stating it’s Fiction, letting it stand with everything else, yet not denying that it is profoundly queer. Life on a slant, as it were. Proud outliers but never feeling the need to say I’m Queer, now read my shit. It was just – hey, read my shit if you’re interested. And people did. They did it in droves, too. New York Times Best Seller kind of droves.
I’ve come to the realization that I, too, am not willing to limit my works to a gay audience. Yes, I’d love it if other queer men liked what I did. I am writing to them. But it doesn’t mean I need to limit the works in that whole M/M thing that is completely overrun with women writing about us (often as we AREN’T). I have no desire to play in that game. That literary house isn’t even mine as a gay man. It’s like I’ve been ousted from it. Yet, in my striving for acceptance and equality, I am not willing to limit the scope of my works or audience. Put it out there and let ANYONE who finds it of interest buy it and read it.
I will continue to celebrate and champion queer works. I love the community of writers I’ve come to know in that sliver of genre fiction that is currently being labeled as Gay Fiction. I just am not willing to play in that pool anymore. It’s not what I am doing, not even remotely. My works are perception works. I want other people to read and see how these men process their worlds. I am not writing to a HEA (as a rule I sort of fucking despise HEAs (Happily Ever Afters) – I want realism in my works – not just in what I write, but what I read as well). I am not opposed to an HEA that makes sense. But to open a book and know already that it’s there is sort of like sitting down to a banquet and you already have been told that dessert is in the making, what it is, how it tastes and what you should expect.
So I’ll champion my author pals who want to continue to write in that genre. Yay, team! Go you! But I want equality in what I am doing. My works need to stand with the rest of mainstream writing. I need to see where that road takes me. Maybe nowhere, but I am thinking not. I think it may be a long slog to get noticed in that arena but I think in the long run I’ll be happier that I did this.
My stories are not genre fiction in the way that gay works are defined now. They’re more than that. They’re decidedly queer. They are threaded with gay men’s experiences I’ve collected over the years. But they are also representational of the greater human condition. I specialize in character studies and perception plays. That is universal. I’m just providing a queer lens for anyone to read and see the world through those eyes. But they’re not gay fiction. Just fiction.
I’m good with that.
Until next time …
While that line is from a song in Yentl, it covers what’s been going on lately for me. I know it’s been a while since I’ve been in the blog chair. It’s something I find that I can’t do – just blog for the sake of blogging. I have to want to say something. This one took me a while to gestate and finally take shape.
Thinking back on it though, I don’t think it was because I didn’t know what I wanted to say. But because it was about those moments that are sort of milestones in your life (that sometimes come and go so quickly you scarce sense that they have any real meaning until you reflect upon them much later). I think that I knew I was going to write about them but it seemed the universe wanted me to wait a bit. It seemed that it had moments for me that I needed to observe. Things I needed to take stock of that were milestone moments. To quite simply not be in such a rush to produce.
As a writer, I am purely an artist. I don’t give a damn about whether my story is at the top of the best seller list. I wouldn’t mind it, but it’s not requisite. I’ll publish regardless. At some point I watched as my author friends publish with established boutique houses and think wow. Not because I begrudged them their success at getting a story sold. I am quite happy for them. But it was a moment where I realized I can’t compromise my voice. The stories I write must be what they are. If it means a real slow burn to find readers, well, so be it. I will persevere and write what I want to write. Uncompromising in tone and measure. No punches pulled, as they say. Well, as I say, really.
So yeah, moments.
And some may not have to do with my writing at all. I had one such moment with my granddaughter a week ago.
It was a random movie night at home. Just the grandpa’s and her. Mom was out on a date. What did the granddaughter choose? Some mindless chick flick? Some bombastic super hero or sci fi romp? No.
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That was her choice. And I couldn’t have been more proud or pleased with her. So was my husband. So we sat and watched it. It was one of those moments where I watched her as much as I watched the movie. I watched the idyllic world she had as a child fall away as she realized the horrors that people can put upon one another. In a very real way, it was a sad moment. The veil was lifted. She saw the worst in humanity (well, the worst she’s witnessed so far).
It was a moment.
Loss of childhood innocence. A reckoning that had been long in coming, when you realize for the first time the world is not the safe place you thought it was as a child.
Definitely a moment. And she chose it.
The next moment? Another movie (sensing a theme here?):
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No, not the James Bond flick of old – that’s FROM Russia With Love.
In this amazing documentary (produced by out athlete, Johnny Weir – amongst others) we encounter Vladislav Slavskiy. His story is emblematic of what our queer Russian brothers and sisters are suffering in that country. His story broke my heart. It also gave me hope. It was a revelatory moment. Why? Because I’ve always wanted to do something for them back in Russia, but my fear was that any communication from the west might make things worse for them. But Vlad’s story does have a happy ending – probably unique when it comes to our queer Russian brothers and sisters. Why was this a “moment”?
Well, because I became Facebook friends with him. I asked and he accepted. I was overjoyed at the prospect of interacting with him. I made a connection. It was just before his birthday. On that day I wished him a happy birthday and thanked him for being my new friend. He liked the post. It was a small accomplishment, but I was happy.
So about a week ago, I finally worked up the courage to ask him if he would come onto the podcast to tell his story to our listeners. Amazingly, he said yes.
A DEFINITE MOMENT. A MILESTONE. One that said loudly – Don’t fuck this up, Baz! This is a gift.
So we record that special ep tomorrow. For the first time in my life, I am nervous. I’ve performed in front of thousands on the stage and not batted an eye or had so much as one simple butterfly roaming around in my stomach. But speaking with Vlad; trying to relate his story? Yeah, I got a whole bag full of butterflies going on in there.
I want to get this right for so many reasons. None the least of which, that my granddaughter watched the movie with me and is just as excited about my talking to Vlad as I am. So yeah, young ears are listening to what I am about to do. Definite responsibility. She’s listening. She’s watching grandpa step into a very important place to help someone tell their story. And she’s a questioning queer youth – so it’s doubly important that I get it right.
When I met my very first fan (beyond my family, that is) – Michael Rumsey. You brilliant and loyal man, you!
Like the moment I met Jayne Lockwood and Vance Bastian. Two people I love immensely and can’t get enough of. They’re like a drug I don’t ever want an intervention for. They were definite moments. Milestones. The podcast is a testament to that.
Like the moment last Friday when I got to circle back with Jay Brannan at his concert here in San Francisco and thank him personally for allowing me to quote his works in my book – Angels of Mercy (I am still reeling over that generosity). He remembered the book when I spoke to him after the concert. He was so generous with his time and his attentions about my works. But that’s Jay. He gets the self-promotion – even when I know all he wants to do is go to sleep and rest. But it was a moment of accomplishment that I could provide him with a copy of the finished work. Another moment. One I’ll cherish.
I plan to get back into the blogging chair more. It’s been a while. I need to do this. Not everyday. I don’t want to ramble on about stuff that really doesn’t have much meaning. I’d rather do it when it counts.
Until next time …
So the past couple of days have had me pondering what I am doing. I mean, I’ll write no matter what. It’s what’s consuming me creatively. I’ve set aside the singing and the theater work in favor of an “all in” thrust in writing.
To be honest, I don’t know what I am doing with it all. I mean, I know what my stories are, but the mechanics of writing, editing, publishing, promoting (the part I hate the most but it’s got to be done), it’s all a journey into the vast unknown. I read blog posts like mad on the subject. I read reviews to see what people are saying about what others write (not because I am looking for the ‘next big thing’ because I know I’ll never be one of those writers). But yeah, just a general observation on it all.
So last night I spied a two star review of Angels. Needless to say I had a grim set to my mouth. I knew this was coming. It doesn’t shake me up. I’ve been in theater long enough to know that people will say what they want to say about it. There’s no debate that goes on. It’s done and over with well before you can engage. Anything after that is a mere grab for … but, but, please LIKE me! Yeah, I so am not that guy.
I guess what trips me up about it though is that the review doesn’t make sense. I mean, I get that it wasn’t for him. Fine – done dead deal but there are things under the hood that my hubby pointed out to me that said something altogether different.
The first statement is rather straight-forward and he’s entitled to his opinion. No arguments there:
Sorry, but these characters were poorly written.
Grammatically speaking he’s incorrect. I’ve had several people, many of who have been in the biz long enough and ALL have said it’s the cleanest manuscript they’ve read in a long time. My editor knows his grammar (having come from a long line of educators that stretch back to the early 1800’s – this family is VERY old skool when it comes to grammatics). As to character development itself, his sphere of those he knows in life must be woefully short of color and variation. Because each of these characters is rooted in someone real and it culls from their own lives. So uh, mmm, okay. Just sayin’…
Then there’s the next couple of lines of the review that is sort of push/pull against each other. He’s not clear about what got to him (though, make no mistake, I was pushing his buttons):
The teenage boys talk like middle aged Ivy League men that are absurdly gushing about everlasting love. These are not teenagers. Too much angst and pre-teen type of relationship. It just didn’t ring true.
So which is it? Are they Ivy League men or are they riddled with “pre-teen angsty relationship” – they can’t be both. I make it very clear that Elliot, like myself, was a cultivator of words and emotions FAR beyond his years. It was the only thing in his arsenal to make his quick getaways from bullies in school. I even make it a point to have Elliot cop to the fact that he knows it is a smoke screen, that it isn’t real. It was, in fact, how I survived school. I have this in my own writings FROM that age (sidebar: I was tested to have a college level grammar comprehension in the third grade). As I’ve said before, these situations and character points come from real life. They’re just told in a fictitious manner. So he didn’t think it rang true. He’s entitled to his opinion. I’ve no qualms there. But then we get to the meat of his ire:
And, worst of all–a cliff hanger ending. Are you kidding me?!? 540 pages and you can’t give us some sort of ending? That really annoyed me. Why invest all this time and energy in reading this pot-boiler when there is no answers to ANY of the questions raised in the story? To me, that’s unforgivable. I will not be reading this author again.
So now I knew what I was dealing with here. A M/M romance reader applying the rigid trope rules that I rail against. BINGO! I had my culprit (not that I needed one, but it was an interesting post-mortem of the review that I was curious about). So 1) The BOOK TITLE clearly states Volume One – implying there will be others. It does continue and as such, it WON’T by it’s very nature, answer questions. Volume one is concerned with posing questions, not answering them. The answers come later. 2) I emotively got to him, whether he’ll concede to that or not. So in my estimation, bang on brilliant. I WANT emotive responses to the work. Good, bad or indifferent (well, actually the indifferent ones will probably hurt me the most).
I also in the write up before you buy say it is a character study work. That means that it is more concerned with the character as he is, and not the situation he finds himself in. It is meant to walk away knowing how he processes his world. And let’s be clear about this. As first person POV, you are ONLY getting his internal voice. The reader is woefully short on Marco’s take on things. You only get a wisp of an impression of him and it’s filtered through how Elliot processes things. It’s how he hears it. We’ll get a very different voice when Marco picks up the tale in book 2.
And lastly, the dreaded cliff-hanger. Let’s talk about that one. I was warned by fellow authors I would get dinged for that. I DON’T FUCKING CARE! (My ire is not at my author buds, just to be clear – I am railing at expectations that are placed on works before the author has the platform to weave their story – that is what I am railing against) It is, what it is. If you won’t read my stuff later, bully for you. I am not going to beg for it. Move on, nothing to see here. I’ll still write. I’ll still publish. It’s not a threat to that, bud, just sayin’.
Cliff hangers, by their very nature, will never have a trite ending. They aren’t written that way. I apologize if the guy didn’t comprehend this in the write-up I have attached to the book on all of the sites, but it is clear that he didn’t read or comprehend what he was buying. He bought it thinking that it was standard romance fare. I make it abundantly clear it is not.
My hubby also pointed out one other thing to me. Why continue to read it if it was so awful a work? I’ve started many a book and pitched it aside because it didn’t do anything for me. But the hubby, ever the clinical psychiatrist he used to be in a previous professional life, pointed out that the book did get to him. The emotive response that threads his review is very clear.
The hubby’s takeaway: he has poor reading comprehension skills. Having read other reviews by him, I tend to agree. His vision of what works and what doesn’t is rather pointed and narrow. Not that I’m saying it to sooth ruffled feathers on my part. They aren’t ruffled. It is all part of me trying to understand how people process. This is what I put INTO my own works. I am truly fascinated by it all.
(Highlight it to see it, ignore this next bit if you don’t want to know about a plot point in the book – it’s fairly significant)
The cliff hanger is the physical beating Elliot (the main character) goes through at the hands of his boyfriends teammates who are through with his corrupting of their beloved captain of the team. It deals with homophobia in the worst possible way – through violence. At the end you don’t know what happens to Elliot. I knew going in that this would kick the reader hard in the rubber parts. But it is what happens. We often don’t know what the outcome will be. That was intended from the moment I started to write Angels. It’s not an easy read. It’s not meant to be. It’s not an easy thing to write. But I do want the reader to invest in Elliot and his world. He WILL rise and be greater than anyone expects from his tragedy. In a very real way, what didn’t kill him does make him stronger. Far stronger than his boyfriend can comprehend.
The hubby said that clearly the reviewer was emotively moved by it as evidenced in his real pointed angst in the work. It’s not a romance read. There will be no big bow or a litany of answers at the end. IT’S NOT THAT KIND OF BOOK.
Never was …
Moving on …
So this morning I woke up to two rather lovely things in my in-box:
It’s just a lovely thing to see this happen for Shrill/HO’M,O as it was such a clusterfuck of a novel release. Just that it was mentioned was a totally unexpected honor.
That was a lovely thing to see (esp. after the small shrug I had over the 2 star Angels review above).
And boy, did it ever kick me in the BEST possible way. So here’s the drill on why I am sort of gun shy about Angels: I feel that the work will be largely misunderstood. I know what it is, and what the intent is. But readers pick the work up with a precept of what they think they are getting when they buy it (as evidenced in my angst ridden two star review above). So when I offered it up to the reviewers at Saguaro Moon Reviews, I didn’t think they would get to it so quickly. They did, and how.
The work was only given to them a short while back so I was sort of stunned that it was out there already. The reviewer seemed think it was a page turner (good, that’s what I was hoping for) and she didn’t hold me to the hard and fast tropes of a romance read – which it’s most definitely not. Honesty in the approach was a really lovely thing to hope for. That’s all I ask. Even with the two star review above, I’ve no hard feelings about it. He’ll move onto things he enjoys more. That’s as it should be. My works are obviously too dark for his literary world. That’s okay. I’ll take that for what it is. No harm, no foul (even if he’s put off anyone else who are hard and fast in their romance tropes to give something else a try). Eh, they probably wouldn’t like it or get it either. So yeah, maybe it’s best if they don’t buy it at any rate.
Writing is a very lonely business. It’s cathartic as all hell, but it is a lonely thing. Your thoughts, your creativity on paper or on a computer screen. But it’s just you and the keyboard/pen hammering out a world word for word, feeling by feeling, with all the ups and downs of a real emotive roller-coaster.
I wouldn’t have it any other way.
Until next time …
Okay, so bear with me here… I’m mentally rambling on an concept that I want to chew on. Tangents will abound. My sincere apologies if you aren’t quite in the mood for it. Don’t say you haven’t been warned …
So I know people are entitled to their opinions. I know that those comments and feelings that they have on any topic is part of the game. I get that. Having spent a great portion of my life on the stage and having to deal with people’s opinions of the work on offer at the time is part of the gig that I signed on for.
But in this information age I think that it carries far more weight that it’s worth really.
And before anyone grouses out there about my going off on a tangent (you were warned, after all) we all best remember that trolling is a very real thing and can be very detrimental (if not outright scary) when it comes knocking at your door.
The problem is that everyone who isn’t a content creator thinks that their opinion trumps all who came before or after. And sometimes, shockingly enough, touted as being more profound than the creator who did the, uh, ya know: creating!
And I get that we want some sort of feedback as a creator. It is part of the cycle, isn’t it?
But then I read several reviews (and, to be clear, they aren’t all regarding novels, either) where the “review” is little more than a synopsis or a book report of what happened. If we all wanted to know that why would we read the book or see the movie or whatever?
I’ve always said I want an honest review of the work – with all of it’s blemishes and beauty marks as they may be. I am not afraid of criticism – as long as it is warranted. Haters who just love to bash something or do the equivalent of a “drive-by” assassination of the work simply for their own personal aggrandizement or back patting, is rather pathetic and will get an instant cold shoulder from me.
BUT, if you have a specific gripe or take on an element of the work that didn’t work for you – yay you! Doesn’t mean I have to buy into it as its creator – after all it is still my baby. My creation, my world.
So why the rant? Why the extolling and waxing prosaic on trolls, wanna be reviewers, and general haters?
Because I am sort of over the whole “what do you think about it.” At least on a personal level. I think Gore Vidal said it best when it came to the style of a writer:
Great words. I’ve taken them to heart really. But then again, Vidal pretty much has been a beacon of intellect for me – it’s where I ground myself as a creator. So for me, as an author, I am really not so wrapped up in what others think to the point where it could cause me grief (especially if it appears they have an axe to grind with my work or are just generally mean spirited – that sort of muck rises to the top like floaters in the ocean from a broken sewage main).
What I do sort of grouse about is the terrible language that seems to permeate most of those reviews. In one I saw someone wrote that they didn’t like the vocabulary used (when it was clear that they meant dialog – I won’t cite the actual work out of kindness to its “author”). And they went so far as to confuse dialog with inner-monologue. These aren’t esoteric terms, people. And I re-read it several times to make sure that it was dialog that was the intended meaning. It was. But they used vocabulary – why?
Alas, sadly, that wasn’t the only instance.
In a very real way I sort of see the logic of why in traditional publishing they had that whole gatekeeping to qualify for publishing. Agents and inquiry letters were involved. There was a certain symmetry to it. And a real effort had to be made by an author to be heard. Now, not so much. They were there to ensure that the work was of, at the very least, a certain degree of quality. Experts who knew of proper story construct and characterizations.
Now, with the way things are anyone can (and often do) publish their works and are clearly in it for the adoration they think they so richly deserve. Most of the self-pubbed stuff out there is shit – poorly written, constructed and edited (Jesus, are there ever some crap-assed editors out there). And I am not saying this because I’m a Bitter Betty and want adoration coming my way. It’d be nice but it is NOT a requirement on my part. I will write either way. Why? Because I like what I am doing with it. I like putting worlds together, having characters grapple with it all. I love fleshing out their idiosyncrasies and foibles that have them blunder spectacularly to whip up the inherent drama (as a great opera singer friend of mine once said whilst we were backstage waiting to go on: no one ever comes to a happy opera – meaning: drama drives all).
And even in comedy, there has to be a small sliver of pathos or drama to create those peaks and valleys that allow us that a-ha moment of enlightenment that tickles both our funny bone and our intellect.
But for the most part, I think most reviewers voice an opinion to see their own name in print somewhere. Oddly enough, I actually read reviews. Not because I am envious of some other author being lauded upon to the point that brown-nosing is involved. Or as SJD Peterson once told me:
Yeah, I get that. There are those reviews where the audience member is simply enthralled with the idea that they are in some way interacting with the author on a personal level and need to praise them to ensure their being counted amongst the author’s favorites. And to a small degree, in some instances, that is sort of true (in a slightly, tilt-your-head-like-the-RCA-Victor-Dog sort of way). I mean it is no different than someone gushing over their celebrity crush or admiration for say, Benedict Cumberbatch’s latest work. I may applaud his performance, I may swoon over his choices as a fellow thespian – I may even be so lucky to have half-a-minute to converse with Cumberbatch himself and tell him so. Does that mean my opinion should be elevated because of this? No. I may have interacted with him but in no way does it mean I take whatever he created and say it has anything to do with me (other than a shared experience).
But with books, I dunno. I mean, they are a bit more intimate because it is just you, the reader, and the author who is imparting their imaginary (in the works of fiction) worlds to you. So in a very real way it is an audience of one. I get why so many readers feel a kinship with their favorite writers. But that line does get blurred by them an awful lot.
And let’s be honest here. Most of what is out there isn’t written for longevity in the populace. It isn’t written for posterity sake. It’s fluff – pure and simple. Most of it is written from the firm belief that “this one will crack through and become a big time best-seller.” It’s all about the sale, isn’t it?
The majority of them don’t make it. In fact, most never will. I read somewhere that like the world economy, the author spectrum is that 5% of authors make nearly all of the money made in books while the other 95% scramble for monetary crumbs. Oh there’ll be those fleeting books who find an audience several years or decades later (some even finding their “mass” audience and adoration after its author has long departed this mortal coil).
But it doesn’t mean that the reader has any real claim on the work at all. They may invest themselves in the work, they may even draw analogies from it and liken the experiences of their beloved characters to their own mundane existence, but they are never really a part of the work. Not to my mind, at any rate.
Take my latest, Angels of Mercy. Marco, Elliot and the rest of the ensemble cast have no knowledge of the reader’s part in the story (even if Elliot feigns breaking the fourth wall and addressing the reader directly – yeah, okay, that might’ve been a bad example on my part). They will continue to tell their tale the same way every time the book is opened and someone reads it’s opening line:
Elliot will always begin the story this way. He won’t alter it for the reader because the reader may be in a particular mood. Those words will be the exact same thing each time the book is opened and read. Period.
Yet, as a reader, those same words can mean a great deal of things given the kind of day they are having. The reader does imbue a part of themselves into it on their part. So I get the connection to the work. But to my mind, and way of thinking, it doesn’t (or shouldn’t) change the dynamic of the work. Unless, of course, that the work was created with the sole intention of selling like hot-cakes. Then we’re talking a sell-out sort of arrangement and not a work that was created because its creator was artistically inspired to create something from a whole lot of nothing.
I get why audiences exist. I get that they will have a takeaway from the experience. But what I grouse about is that there are some pretty fucking stupid people out there who don’t have the life experience (some are born, live and die in the same patch of land they’ve been on their whole lives – how myopic can you get? I mean even a poor man can start walking one direction and be somewhere totally foreign to them within a day), they don’t stretch the meaning of their existence to grow and see what life truly has to offer. In most cases, they just have a general languishing apathy toward anything that would remotely give new meaning to their existence – save for the random book or movie they might experience.
Unfortunately, those are usually the same individuals who feel compelled to write about works as if they have something to offer in the conversation. I come to this conclusion because of people I’ve talked with who are avid readers but purposely do NOT review the books they read. Why? Because they either don’t have the time or the inclination to share their ideas with anyone else. They are in it (reading) for their own personal gain or pleasure from it.
So what are we left with? Book report reviews (seriously, I saw one that made a feeble attempt at a real review by writing a small and concise synopsis of the work before their actual review – thankfully they did their best to avoid spoilers for any blog/review readers who might happen upon the piece). Yet when they moved on from that brief book report, the actual review consisted primarily of expounding upon the synopsis they just wrote- thereby completely negating why they wrote the synopsis in the first place, leaving the last few sentences as bread crumbs on actually reviewing the work at all.
What are my author pal’s takeaways from it? “We don’t read them unless they’re great.”
Yeah I get that. It’s a lot of hard (and often very lonely) work that goes into them. Appreciation is nice if just for the – “wow, you really did that, didn’t you” sort of thing and not necessarily because it has any real entertaining value to it. Purely an appreciation of the mechanics and effort involved. And that’s a very good thing to feel from others – just an acknowledgment of the accomplishment of finishing it.
That’s great! Well done, you!
Fabulous words to hear, indeed. But the rest of it? Eh, not so much. Then there’s the added issue of authors who have padded reviews. Works that are reviewed by readers who just laud the work when it’s only been out for a day or so. Wow, uh, really? I mean when I released Angels of Mercy – Volume One: Elliot, one other author had 7 reviews ON THE SAME DAY OF RELEASE?! How in the fuck is that possible? I mean I know there are beta readers but seriously, this author writes a “book” every couple of weeks. I’ve read one of them – not much to get worked up over. Very thin plot, weakly drawn characters (despite how many fans were gushing about the powerful writing involved).
Seriously, is the bar that fucking low, now?
Perhaps that’s why the life-experienced deprived individual has a voice now. Because the works themselves are not very meaty to begin with. And the brevity of the works… what’s up with that? I can’t be bothered with a short novel. I know some love them. I am not of their lot. Not by a bloody long shot. Hell, I wrote HO’M,O – Henry O’Malley, Omega (a.k.a. – The Shrill of Sparrows (thanks Amazon for that clusterfuck of titles)) as a short novel and it KILLED me to be so damned curtailed in the writing. While I don’t think the story suffered from weakness in the prose because of this, it isn’t what I would’ve originally done. But it was a NaNoWriMo story so I knew it was going to be short as it was written in a month as part of the NaNoWriMo challenge.
But yeah, maybe the rise in mediocre reviews is because there is a lower standard of the works that are out there. I don’t know. I do know that by and large, I am somewhat disinclined to just buy a work because it’s on the cheap and got a boat load of 5 star reviews. Though I am just as guilty of playing the 5 star game. And it rankles me that I do. I struggle with it constantly. But I hired a mainstream promo group and they’re all about the self-promotion as my part in the game – I paid good money for it so I gotta be “all in.“ I bargained for that when I hired them so yeah, guilty as charged on that score. Actually, if it’s on the cheap that is usually a BIG red flag for me. Not saying it has to be worthy of competing with a bracelet from Tiffany’s where price is concerned, but a 99¢ priced novel or novella isn’t going to make me want to buy it on price alone. I played that game early on with my e-reader and have a ton of books I’ve tossed aside as unworthy of my attention.
Instead I’ll read crap-assed review after crap-assed review until I find one that I think is well written and THEY will be my barometer of whether it will interest me or not. In most cases I am simply disappointed that 95-98% of the reviews out there hold very little resemblance to an actual in-depth review that takes a serious look at the work at hand.
And that’s a real shame. I maintain that I will always trade thinly written 5 star reviews for a single gay or questioning boy who decides what I wrote spoke to him and his world – that I made that sort of connection to someone else, who like me, was desperate for a voice to say – You’re okay kid. Things are gonna be okay, somehow. Confirmation that my world, as imaginary as it might be, gave him a bright beacon of light to find a way in his own. That review may not be the best written, but if I can get a strong sense that it’s written with heart and deeply felt? Yeah, that’ll get my vote every time. I look for those reviews. I may write for me. But I also write for that guy and it’s those reviews that matter to me most.
Until next time …
Don’t forget about the rafflecopter author giveaway (I am taking part in this event) – to benefit LGBTQ charities and causes. Adding our voices to combat bigotry and homophobia.
Displaced Queer Youth is at an epidemic level. We need to do whatever we can (if you can’t give money then tweet and blog the event to other social media outlets and networks). Do what you can to get involved and help these youngsters find some place safe and supportive to show them that their lives do matter.